Film Forno

BUD SMITH  AN APPRECIATION WITH ANECDOTES

Bud Smith started his career at Four Star Television, a company formed by Dick Powell, Charles Boyer, David Niven and Joel McRae (hence the name). Four Star proved fortuitous for Bud.  There he met Steve McQueen, star of “Wanted Dead or Alive” they were both avid motorcyclists, racing around the desert with their pal Bud Ekins.  I believe Bud’s love of speed, adrenaline and the thrill of racing informed his visceral style of editing.

In the mid 1960’s Bud met David Wolper who would take Bud to his production company and introduce him to his biggest filmmaking ally, William Friedkin.  There  they collaborated on ”  The Bold Men”, the start of a long creative relationship.

After leaving Wolper, Bud was in NYC cutting the featurette of “Goodbye Mr. Chips” when Bob Downey walked by his cutting room.  Downey looked in and liked what he saw.  “You want to edit my film?” he asked and Bud wound up cutting “Putney Swope” an underground megahit about a black advertising agency.  Bud and Bob would go on to make  “Pound,” “Greaser’s Palace” and “Sticks and Bones,” based on the David Rabe play produced by Joe Papp.  It was one the of the first anti-Vietnam War films to show on network television and thanks to their mutual friend Jack Nitzsche, it had music by the Rolling Stones.

In the early 70’s, Bud re teamed with Friedkin for “The Exorcist,” a film that caused a major sensation.  One of the scariest movies ever made – lines formed around the block everywhere.  It was a huge box office hit.  Bud told me they were under such a tight deadline and were working so many hours that the studio had a nurse come to give them B12 injections to keep going.

Friedkin and Smith’s follow up was the underappreciated (at the time) “Sorcerer,” now recognized as a masterpiece.  Bud was a producer and shot 2nd Unit as well as other footage for this film.  He proved himself a brilliant 2nd Unit Director as is evident by the counterfeiting scene in “To Live and Die in LA” and the scene where Ed Begley Jr gets his arm ripped off by the panther in “Cat People.”  Pure cinema.

Bud loved to experiment creatively with film.  He used subliminal cuts in “The Exorcist” and “Cruising,” (another Friedkin collaboration that was unfairly boycotted during production). Once again it is now considered a classic.  Recently I told Bud how much I liked that movie – how well it was made and this made him very, very happy to hear.  I think he considered it some of his best work and the bad treatment the film received (by people who hadn’t seen it) upset him.    

In “Cruising” Bud used subliminal cuts of hardcore 8mm films during the murders to unsettle the audience.  In “Sorcerer” he was inspired while looking at Cynex strips on the Kem.  A Cynex strip was an optical element created from a frame of a shot to judge exposure, each frame was half a stop lighter than the previous, from black to white.  He cut them into the film during Roy Schieder’s hallucinnatory drive through an eerie landscape.  He also scored that scene with an album he had called “The Wind Harp,” adding to the mind altering atmosphere.

In “Zoot Suit” he told me he mixed the film in Sensurround, a process that added powerful bass frequencies to emphasize the tap dancing.  He was always coming up with new techniques to make films more expressive.  The soundtrack of “The Exorcist” is another example where he used so many creative cutting edge ideas to make the film more powerful and to make it work on a subconscious, primal level.

Bud edited “Flashdance” for which he won a BAFTA award.  It was another giant hit and a big cultural influence. In the final audition dance scene in “Flashdance”, Bud seamlessly combined the moves of Jennifer Beals with three different dancers (one of which was a male breakdancer in a wig) to create the beloved dance sequence. 

A few years later Bud struck gold again with “The Karate Kid,” another mega hit.

Bud was the recipient of an ACE Career Achievement Award in 2008.

If you spent any time with Bud you were gifted with some great stories, like when some mafiosi showed up at the cutting room of Friedkin’s “The Brinks Job,” tied the crew up at gunpoint and kidnapped a few reels of dailies.  Luckily Bud was not there at the time and what they stole was the work print which could easily be reprinted at the lab.

If you look at the poster for “Sorcerer,” you’ll see a truck on a primitive rope and plank bridge leaning at an impossible angle.  This image is a frame enlargement from the film.  In the next frame the truck toppled over into a raging river below.  In the cab of that truck, in real life, was Bud Smith and his old pal Bud Ekins.

Besides his great accomplishments as an editor and 2nd Unit Director, Bud directed the film “Johnny Be Goode,” starring Anthony Michael Hall, his friend Robert Downey’s son, Robert Downey Jr. and Uma Thurman in her first film.  I wish he had directed more films, but soon thereafter he took a job at Universal as their “film doctor,” recutting films as needed to improve their chances at the box office.

Bud was a very generous person.  He gave a lot of people a leg up or a big break.  He helped me as well.  I was assisting him on a Downey film called Moonbeam.  Bud agreed to edit it as long as he was free but then he had to leave to edit Flashdance.  Downey asked who should take over and Bud replied “Joe can do it.” Bud Smith gave me my first editing job.

Renowned Director of Photography Bob Yeoman was shooting 2nd Unit for Bud on “To Live and Die in L.A.” when Robbie Muller the 1st Unit D.P. “got sick.”  Bud proposed to Friedkin that Bob take over and Bob will tell you that it made his career.

Bud was blessed with a 33-year relationship with his lovely wife Lucy, a former dialog editor.  They loved each other dearly and Lucy took amazing care of him in his last years.  She is an angel.  

Bud Smith is survived by three children from a previous marriage sons Scott, Steven,daughter, Jill as well as a granddaughter, __________

Farewell dear friend.  You will be deeply missed by the people who know and love you and all of those who were thrilled and moved by your brilliant work.  

I am going to go out on a limb here and say I think CRUISING is William Friedkin’d best film. I saw it in a theater just off Times Square back in 1982 or so. I had just started a job as an assistant editor, the editor I was working for, Bud Smith, told me it was playing and I should go see it. So I did. At the time I was creeped out by the film and the creepy forty deuce theater I saw it in. I thought it was confusing, I did not get it. I was in awe of some of the visuals, powerful images , shadows, dead bodies, a Blue Arch in Central Park at night. But I didn’t think it worked. I recently rewatched it and I had a revelation, the filmmaking is top notch! The camera work, editing and score( by my old friend Jack Nitzsche) are all great. The plot is bizarre, but now I think it is genius in a David Lynch kind of way.

The first victim comes back to life to murder the second victim. All the killers are dubbed by the REAL KILLER’s father. Who exists only in the mind of his son, having died years earlier. And when the REAL KILLER is being interrogated, he says in his fathers dubbed voice “I didn’t kill anyone” . this is all subversive filmmaking of the highest order. What does it mean? Well, Friedkin was inspired to make this film by talking to a real killer in jail for murder. This guy had appeared in a small role in THE EXORCIST. He played an X-Ray technician. He told Friedkin that the cops said they would go easy on him if he confessed to a whole string of gay murders, even though he only recalled doing one of them. I’m sure this got Friedkin thinking, do we ever know the truth about these things. Are they more complicated than we realize? Are people influenced by other forces when they commit these horrifying crimes? I think he found a creative way to explore this ambiguity, uncertainty. The film had such a negative backlash, mainly due to protests by the gay community in NYC, but none of them had seen the film. They were reacting to a film about gay people being murdered. The S&M gay community supported the film and a lot of them appeared in it.

I actually think the film was a step forward in the Cinematic treatment of gay people. There are scenes in leather bars, S&M clubs, extreme sexual things are happening but you never feel they are being judged in any way. No one is saying “That’s bad!” or “That’s disgusting!”Friedkins cameras are in documentary mode. He’s showing us what goes on behind these doors but not making any judgement calls. Also in so many “Straight” horror films , people have sex and are then slaughtered by a monster , the Puritanical result of out of wedlock fornication. Here gay people are given the same treatment. So they are being treated exactly the same as straight people. All in all I think this film represents a big step forward in portraying gay characters.

The film opens with two incredible poetic images, Hi-Con Black and White shots of iconic images from the film, one is a crowd of leather clad club goers outside of The Mineshaft, the other is Pacino in Central Park standing in a stone archway. There’s no explanation as to why these images are here, but with the minimalist atmospheric score I find them enigmatic, compelling, in a word poetic. And that sets the stage for some great Cinema, offbeat, unorthodox. The murder scenes are gripping , the one in the Peep Show, that yes the projected porn as a visual element is Cinema of the highest order. There is even a subliminal ( 4 frame) cut of a penis slithering into a butt during the stabbing, Artfully done, it took me a couple of viewings to see it.

The soundtrack is amazing too. Great sound effects , great Foley of creaking leather, rattling chains, all kinds of strange atmospheric textures laid over the scenes in an incredible way. It makes the hairs on the back of your neck stand up. The score is great, iconic, Nietzsche recorded several bands for this movie including The Germs and Willie DeVille. He told me that Friedkin complained that he spent too much on the score. I guess because the movie did not do well at the Box Office. It’s really a shame that this film was so badly judged and received, mainly because of the protests, it had a negative publicity campaign before it came out. Some theaters even put up signs saying they were sorry they had to show the film, they didn’t want to but were contractually obligated to. It’s bad when things are judged by people that have not seen them or read them or heard them. Just attacking something based on a rumor, something they read, not making their own minds up about it. The film was a commercial flop. unfortunately because Friedkin should have continued in this vein of creativity. A sort of Metaphysical Thriller. He really forged a new style that he wound up abandoning in reaction to its reception. A Real Shame.

An often overlooked fact about this film and The Exorcist is that Bud Smith and Jack Nitzsche worked on both of them. Their contributions to both was inestimable in my opinion.  Bud met Jack while working on Bob Downey’s Greasers Palace, a psychedelic Western.

            Bud Smith

Denizen of the Midnight Movie Craze of the 60’s and 70’s along with El Topo, Fantastic Planet and Performance. (more on this film in a minute) Nitzsche started out as an arranger, the guy that wrote the parts for Phil Spector legendary Wall Of Sound. The Rolling Stones were enamored of this sound and sought Jack out. He collaborated with them on several songs and wound up scoring the Mick Jagger starring film Performance by Donald Cammel and Nick Roeg. An amazing score, one that supposedly Friedkin loved. Bud introduced Nitzsche to Friedkin and Jack along with his friend Ron Nagle recorded a lot of special sound effects for The Exorcist, rats running on sandpaper, crashing glass, glass harmonicas, bees in a jar. All kinds of exotic sounds. Then Bud would edit them into the film in a very creative unsettling subversive way.

                                                                                                       Jack Nitzsche

The combination was irresistible. Their collaboration on Cruising was just as powerful. They deserve so much credit for the atmosphere and unsettling nature of these films. Both masterpieces of sonic and Cinematic brain manipulation. Bravo!

My final thoughts on Cruising (at least for this write up) deal with the subject matter, Pure sex, pleasure uninhibited, no Catholic guilt, just raw experience, such a powerful force, that it’s been controlled by Laws, the Church, the Public Mores of Society, clamped down, repressed, locked away. Here is a film that exposes pure hedonism, pure freedom of personal sexual expression as the backdrop for a murder mystery, a detective film in a Meta universe where the dead can come back to life, in their own form and controlling the body of others. But not in a Supernatural Zombie vampire kind of way. In a freudian head trip kind of way. Psychological not Supernatural. A real mind bender.

I went to the NY Worlds Fair when I was a little kid. It was great. Bob Downey told me he worked at the fair as a young man from Forest Hills along with his friend Ron Neely, (who later played The Holy Ghost in Greaser’s Palace). Here is a film the great Alexander Hammind made about the Fair. He also did To Be Alive, both with Francis Thompson. Hammid was a true filmmaker, he could make a film about anything. He was involved with the development of IMax and was Supervising Editor on To Fly. He also made Meshes of The Afternoon with Maya Deren, one of the most influential underground Art Films of all time. They are having a major retrospective of his work at the Anthology Film Archives in NYC so if you are in the Big Apple go check it out!

Here on You tube you can watch the whole Let’s Get Lost, a beautiful documentary on the late great musician Chet Baker. Made by the great photographer Bruce Weber, this film is a minor masterpiece. Edited beautifully by Angelo Corrao, it is a real pleasure to watch. When I lived in NYC I was friends with a wonderful guy named Leo Mitchell, a jazz drummer, he always wanted to play Rock and Roll music with me because he had grown up as a Jazz musician and never played straight ahead Rock. What a great guy. He toured with Chet Baker in Europe several times. Years later I asked my friend Jack Nitzsche about an album he had done with Chet Baker called A Taste Of Tequila” or something like that. He said “Don’t listen to that album. It’s horrible. Chet and I both needed the money.”

Anyway watch the film and be amazed.

Here is a cool documentary, shot on the set of the seminal film Silent Running. I saw this in the theater when it came out and really enjoyed it. Ahead of it’s time, the environmental message that’s even more relevant today. Bruce Dern is great and the double amputees that play the robots are really cool. They’re all teenagers, who knew. I later worked with two key players from this film, Michael Cimino, who was one of the writers and John Dykstra a VFX supervisor. Anyway check it out and see the film!

I read that they were re-releasing this film in a limited release,stating in NYC. So I figured I’dcheck it out. It is directed by Fransesco Rosi ,a very creative,political filmmaker. I’ve seen a few of his other films, Salvatore Giuliano, Hands Over The City, The Swindlers. All very good and all shot by the great camerman Gianni DeVenanzo. This one however was not.Gianni died unexpectedly at age 46,but his operator Pasqualino DeSantis did shoot this film.And he did a great job,beautiful. (In my opinion no one comes close to Gianni when it comes to moving the camera around moving protagonists,the sense of space you get is magical. )

Illustrious Corpses stars the great acor Lino Ventura,a real presence on the screen. He is a real movie star. He didn’t want to act,he had to be talked into it by his friend Jaques Becker for Touchez Pas La Grisbi. And it paid off very well for him and for us,the film watchers! So thanks Jaques Becker! Also on hand are Max Von Sydow and Fernando Rey, icons of Bergman and Bunuel.  The great Piero Piccione provides the score and the editing is by Ruggerio Mastroianni, brother of Marcello! Anyway the entire movie is on Youtube. The only problem I had was with the sound level, it keeps changing, quiet for dialog, loud for musical sequences. But watch it! It is a great movie! I think my favorite of Rosi’s so far. I still have a lot of his films to see, a thought I find very reassuring.

Here’s another gem you can watch on Amazon Prime. Chang Cheh’s Kid With The Golden Arm. It’s very entertaining, a lot of fun with great fight choreography. You can see what an influence this film had on Quentin Tarantino (Kill Bill) and The RZA (Man with the Iron Fists) . I should know I worked on both those films. Chang Cheh reunites his cast from the 5 Venoms another hugh hit! The story does have parallels with MWTIF, a shipment of Gold sent to help a province afflicted by a Famine, Off beat Government agents secretly helpiong to protect the Gold, Poison used as a weapon. The list goes on. Buit watch them all and decide for yourself!

And here’s a link to The Kill Bill Bootleg Trailer I edited with Quentin.

I just got the 4K BluRay of Kubrick’s 2001. And I have to say it is stupendous! It looks incredible!

Especially the outer space footage. All done with miniatures and opticals and it looks better than what they do today. Why? Great Artisans and great taste! Stanley held everyone to the highest standards and you can tell when you watch the film. Plus shot in 65mm! With great talents like Doug Trumbull and Wally Veevers. Astonishing! The SlitScan sequence and liquid abstractions have never looked better. So cool. I was friends with the great editor Ray lovejoy.

Ray Lovejoy

A really nice super talented guy. He was the assistant editor on Lawrence of Arabia and Dr. Strangelove. 2001 was his first editing job! Talk about starting at the top! He said Stanley was very nice to work with on Dr. Strangelove.

Pablo Ferro

He also said my friend the late great Pablo Ferro drove the English negative cutters and Lab people crazy! They resigned in protest! Pablo was a bit unorthodox but a sweet talented guy. I guess he showed up at the Lab in the middle of the night to make some changes to the title sequence and the lab people had had enough! They resigned! Kubrick (so the legend goes) got an armoured vehicle to transport his precious negative to a new lab! Anyway Ray said that 2001 was such a huge job with opticals being done all over the world, no one optical house could possibly get it done in time, and Kubrick was trying to stay on top of every minute detail. It drove him crazy. Ray said he was never the same after 2001. The giant complicated film took it’s toll on Stanley. Anyway watch the 4K if you are able and be blown away by it’s beauty!

Stanley Kubrick

Here is one of my favorite scenes from The Sunchaser, a movie I edited for Michael Cimino. This was the last film I edited on film, in 35mm on a KEM editing machine, with splicing tape! It was a lot of work. But I did get to work with some amazing talents, Woody, Jon Seda, Anne Bancroft, Maurice Jarre, Michael Cimino. PS The whole part of them following the hawk to the sacred mountain was created by me. Wasn’t shot that way or in the script, I did it all in editing.  Thanks to the person who put this clip up, and if any of you are interested in watching the entire movie please make sure to get the Scope version not the square 4X3 that they put out. It’s a totally different experience.

Here is a clip of the great synth band Tangerine Dream playing at Coventry Cathedral. They really made a big impact and did a lot of film scores as well. Including the score for a great film, William Friedkin’s Sorcere. My pal Bud Smith edited the film and also edited the trailer to their music. Sorcerer based on Clouzout’s Wages Of Fear. another great movie worth checking out. Check it out.

I just read a great book, it’s called Invisible Men, it’s about ground-breaking African American Artists that among other pursuits worked in the Comic Book field. They opened the door for other Black artists to make a living as illustrators, portrait painters, comic book creators. I highly recommend it. Ken Quattro did a great job in telling the stories of these under recognized artists. It also reminded me of when I was first starting out in the Film industry in NYC. I was fortunate to have been mentored by a great film editor named Frank G. Host.

He was one of only a few African American Film Editors at the time. I knew another one, John Carter, I worked on some films at his penthouse cutting room on 54th street and Eight Avenue. Another Black Film Editor , who became a director was Hugh A. Robinson.

I never met him but Frank and he had come up together as assitant editors and negative matchers and I heard a lot about him. So I was inspired by Invisible Men to write something about these breakthrough Black filmmakers. Frank told me he got a break because some leftist film people split from California (due to McCarthy witch hunts), came to NYC and were progressive enough to give a young, talented Black man a chance. Hugh Robertson worked with the great editor and director Carl Lerner.

Lerner made a film called Black Like Me where James Whitmore , a reporter, took an experimental drug that turned his skin dark, so he could write an article on what it was like to be a Black Man in America and experience the racism first hand.

Hugh also worked with DeeDee Allen, I spoke to her at a party one time and when I mentioned Frank she immediately asked if I had any news of Hugh, unfortunately I didn’t.

Frank worked with an Editor named Irv Fajans, a Union founder and veteran of the Abraham Lincoln Brigade, Progressive Americans who voulenteered to so to Spain and fight Fascism.

I don’t really know John Carter’s history, I just knew him as a very nice person, who worked on some big Hollywood films until he passed in 2018. But a quick visit to IMDB gives me some more info on his history. First of all he was born in my hometown of Newark, New Jersey.

He was in the Army and trained in the Signal Corps. A lot of film people wound up in the Signal Corps. Making films for the Army. John was hired by CBS in 1956, and he was the first African American  editor for Network Television in NYC. He was also the first African American to join A.C.E. (the American Cinema Editors Society). My pal Frank G. Host was involved with creating Shell’s Wonderful World Of Golf and won a Peabody Award for documentary work. He attended the Film School of the Sorbonne in Paris on the G.I. Bill. There he worked on Pickpocket for the great Robert Bresson. Later he was invited to sit on a Unesco panel on Filmmaking in Africa. If his wife had not died they were planning on moving to Africa to make films there. I’m sure there are other African Americans that played important roles in opening up the industry but these are the three I had personal knowledge of. In any case buy Invisible Men, it is really great, inspirational. I will write soon about another African American group of artists that are getting some great exposurfe these days. Kamoinge, a workshop of great Black photographers, several of whom I was lucky enough to know and call friends.

Here’s a clip from a film I edited for Robert Downey Sr. Downey Jr. is in it along with Ralph Macchio,Eric Idle , Andrea Martin, Alan Arbus, Leo Rossi, James Hong, Jennifer Ruben,and a host of others, including Howard Duff, it was his last film. In this clip you will see Laura Ernst harrassing Downey Junior at the begining. She was a great friend and married to Robert Downey Sr. But here are some funny moments. Enjoy.